Sentences with phrase «ordinary objects as»

Expanding on Marcel Duchamp's concept of the readymade, Rauschenberg imbued new significance to such ordinary objects as a patchwork quilt or an automobile tire by combining unrelated items and incorporating them into the context of art.

Often using ordinary objects as a starting point, Rickard explores new potential avenues for their use and in doing so maps the architecture where they are sited, redefining our concept of spatial and objectual perception.

His sculptures which investigate the value of ordinary objects as symbols and imagery of Southern Africa's recent tumultuous times, encourage the viewer to question how an individual piece relates to the whole.

Despite the controversy, Arneson continued to use ordinary objects as a way of creating tension between the mundane and the traumatic.

Known for his thought - provoking images, Magritte used such ordinary objects as green apples, bowler hats and pipes in unfamiliar contexts, giving new meaning to familiar things and challenging the viewer's perception of reality.

Not exact matches

Most of the ordinary objects of human interest — such as food, companionship, vitality, and security — are good.

For Whitehead God is a metaphysical necessity, not as the world's creator, ex nihilo but as that foundational actual entity which is the home of eternal objects and the medium by which they can become objects of that aspiration on the part of ordinary actual entities which is the moving force of the world.

Triangles, mathematical relations, logical systems, groups, rings, spaces, etc. are all eternal objects or can be viewed as eternal objects through their ordinary expression in mathematical or logical symbolism.

The objects of our ordinary experience, things such as rocks, trees, animals and persons are composites or groupings of what we have been calling occasions of experience.

Zen begins with the ordinary individual who is separated from his own true Buddha nature by the false dichotomies of a «Buddha» far back in history, or now in Nirvana; or, more existentially, man as separated from the world around him by a subject - object dualism.

So the point of Whitehead's example in the above passage would be that in talking about the membership of the complex structured society which is a total man, in the ordinary sense of the term, one is referring not to a subordinate society, such as the enduring object which is the life, or soul, of the man, but to all the individual actual occasions in all the subordinate societies and subordinate nexus which make up the man.

He is, rather, a very complex structured society which sustains, among many other societies, a regnant, personally ordered, subordinate society (an enduring object) which Whitehead refers to as «the soul of which Plato spoke» (Adventures of Ideas 267 — see also pp. 263 - 264 for a clear statement of the distinction between «the ordinary meaning of the term «man,» which includes the total bodily man, and the narrow sense of «man,» where «man» is considered a person in Whitehead's technical sense, i.e., as the regnant, personally ordered society which he identifies as his equivalent of Descartes» thinking substance and Plato's soul).

21 In his James Lectures at Harvard in 1940, he abandoned the term «particulars» for «universals» or «qualities» that, based on the examples he cites, functioned somewhat like Whiteheadian «eternal objects»: that is, ordinary macroscopic objects or experiences are to be conceived as a particular togetherness of these qualia at a given locus in spacetime.22

The mass attributed to ordinary objects is required as an independent parameter in predicting the motions that result from the interactions among a system of physical objects.

But religious love is only man's natural emotion of love directed to a religious object; religious fear is only the ordinary fear of commerce, so to speak, the common quaking of the human breast, in so far as the notion of divine retribution may arouse it; religious awe is the same organic thrill which we feel in a forest at twilight, or in a mountain gorge; only this time it comes over us at the thought of our supernatural relations; and similarly of all the various sentiments which may be called into play in the lives of religious persons.

As a first approximation, we may say that the poetic function points to the obliterating of the ordinary referential function, at least if we identify it with the capacity to describe familiar objects of perception or the objects which science alone determines by means of its standards of measurement.

Just as the world of poetic texts opens its way across the ruins of the intraworldly objects of everyday existence and of science, so too the new being projected by the biblical text opens its way across the world of ordinary experience and in spite of the closed nature of that experience.

How can we face the future if it is not verifiable as are the objects of science and ordinary experience?

Ordinary objects of our experience, such as rocks and tables, are composed of many strands of enduring objects; and the story of planetary evolution focuses on the careers of incredibly complex organisms which may be analyzed into societies with sub-societies of many kinds.

Though the Eastern European situation will remain in flux for some time, ordinary citizens in East Germany and elsewhere are objecting to the abandonment of such socialist protections as guaranteed employment and medical care.

The state governments, Madison argues, are closer to the people and can focus on the welfare of the people, regulating ordinary affairs such as the lives, liberties, and properties of the people, as well as the internal order of each state, and should have numerous undefined powers to do so, while the national government, being bigger and possessing national resources, can bring victory in war, protect the people's liberty, and maintain peace between the states, and should have clear, few, defined powers to do so, mostly focusing on external objects such as war, peace, negotiation, and foreign commerce and national taxation.

Firstly, he has to come up with an initiative which will be seen as fair to the ordinary person trying to get on in life or the «striver» (a word that I object to — when was the last time you heard someone in the pub use it?).

Renowned materials scientist Mark Miodownik studies objects as ordinary as an envelope and as unexpected as concrete cloth, uncovering the fascinating secrets that hold together our physical world.

Ordinary matter, which makes up the atoms of familiar objects as well as stars and the visible portions of galaxies, accounts for just 4 percent of the cosmos.

Given this art, a case can be made that the wand in the original story was not a wand at all but an ordinary stirrer that ultimately came to be drawn as a magical object rather than an everyday kitchen utensil.

Almost all ordinary geometrical objects can be described in terms of this particular type of set, so this was just the buttress needed to keep uncomfortable apparitions such as Banach and Tarski's ball out of mainstream mathematics.

The potential revelations include details about objects both ordinary, such as stars, and exotic, such as dark - matter particles, that CMB photons might encounter on their travels through space.

In the Classroom: Ordinary objects, such as the toilet, will be viewed in a completely different way after reading Toilet: How It Works, the third book in David Macaulay's series of beginning readers.

Ordinary objects, harmless items by day, became sinister as darkness infected them.

Sometimes our pets will eat something out of the ordinary, be it a food item, an object such as a toy, or something toxic.

Notions of negation — which he alternately refers to as «dematerialization,» «anti-concept,» and «non-sculpture» — structure his approach, by which he transforms ordinary objects, imbuing them with multiple meanings and affects.

For over five decades, Dine has explored ordinary objects and motifs such as hearts, skulls, and robes, in his exploration of body, memory, and self.

Willie Cole is best known for assembling and transforming ordinary domestic and used objects such as irons, ironing boards, high - heeled shoes, hair dryers, bicycle parts, wooden matches, lawn jockeys, and other discarded appliances and hardware, into imaginative and powerful works of art and installations.

Rombaldi Seppey often uses ordinary or found objects, such as phone books or maps, to create her work.

On Level 2, «Between Object and Architecture» looks at the way post-1960s artists employed geometric shapes and ordinary building materials like bricks or cubes, and includes artists from Latin America and China as well as Europe, emphasizing the museum's commitment to what Frances Morris, the director of the Tate Modern, called «a more global story of art.»

Barriball often coats ordinary objects such as bags and lamps in pen and ink or makes impressions of windows and doors by meticulously tracing their surfaces with pencil on paper and magnifying the incidental details and textures created by every day wear and tear.

Duchamp, who was on the Society's board, tested the limits of the organization's guidelines by anonymously submitting what would become his most famous readymade (an ordinary manufactured object that he designated as a work of art).

Playing the role of alchemist, each artist in Between Spaces will recast familiar materials and objects such as wood, paint, mirrors, moving blankets, Plexi - glass, Venetian blinds, and metal grating to make the ordinary strange.

Tara Donovan Ordinary objects such as plastic cups create images of the cosmic in Donovan's sprawling installations.

Also included is a work by Gimhongsok, from Kukje Gallery / Tina Kim in Seoul; A Star (2011) is one of a series of sculptures entitled «Ordinary Objects» that appropriate everyday objects, such as plastic bags, wooden sticks and Styrofoam, which are recast in precious Objects» that appropriate everyday objects, such as plastic bags, wooden sticks and Styrofoam, which are recast in precious objects, such as plastic bags, wooden sticks and Styrofoam, which are recast in precious metals.

A true believer in technology's aesthetic potential, he is intent on reinventing traditional pictorial methods — specifically, painting and drawing — by using the computer's capabilities and limitations to turn ordinary, Pop - inspired objects (video games and their characters, computer cables, screens, Apple Quick - Take cameras, etc.) into motifs but also stylistic models, painting them as if seen on - screen.

The paintings, sculptures, photographs, drawings and videos focus on ordinary objects, such as a brown paper lunch bag, a pink eraser or a 2 - ply, white garbage bag, which are transformed by the artists, who employ unexpected materials or play with scale.

As Duchamp puts it, «An ordinary object [could be] elevated to the dignity of a work of art by the mere choice of an artist.»

2009 Moyniham, Miriam, St Louis artist's imagery is intense, The Post-Dispatch, 11 June Rosenberg, Karen, More Over, Humble Doily: Paper Does a Star Turn, The New York Times, 19 October 2008 Applin, Jo, Bric - a-Brac: The Everyday Work of Tom Friedman, Art Journal, Spring, pp.69 - 81 Artner, Alan G, Beautiful art books published on 2008, Chicago Tribune, 13 December Cullinan, Nicholas, Tom Friedman, London, The Burlington Magazine, September, pp. 627 - 629 Jenkins, Amy, The Independent (Review of show at Gagosian Gallery, London), 5 July Johnson, Ken, Hunting a Tribe of Minimalists on the Streets of the Upper East Side, The New York Times, 5 January Johnson, Ken, Unwrapping the Secrets of Ordinary Objects, The New York Times, 17 May Lack, Jessica and Clark, Robert, The Guardian (Review of show at Gagosian Gallery, London), 31 May - 6 June Degen, Natasha, Frieze, June Wilk, Deborah, The Complexity of the Simple, Time Out New York, 17 - 23 January Wallpaper.com, Tom Friedman exhibition, London, 4 June 2006 Otten, Liam, Tom Friedman at Kemper Art Museum, Washington University Record, 26 October Tom Friedman at Gagosian Gallery Beverly Hills, The Week, 24 November Vogel, Carol, Why Small is Big, The New York Times, 17 November Knight, Christopher, Art as a shared experience, Los Angeles Times, 3 November Kastner, Jeffrey, Tom Friedman Feature Inc., Artforum, January, p. 220 Tom Friedman at Gagosian Gallery, Artdaily.com, 26 October

Through ordinary objects salvaged from the activities of everyday life — empty bottles, washboards, children's toys, and mirrors — Saar reminds us that people can be imprisoned just as surely, just as securely, by desires, stories, and ideas as by stone walls and iron bars.»

I have had a longtime interest in seemingly ordinary everyday objects such as collectible and utilitarian items.

The artist's experience in turn, he suggested, was the experience of seeing ordinary objects in the world as pure form: the experience one has when one sees something not as a means to something else, but as an end in itself.

Taylor worked as Rauschenberg's studio assistant from 1975 to 1982, and the legendary artist's repurposing of trash and ordinary objects for fine art is an evident influence on his Collection of Perishable Rings (1988), where assorted discarded circular items — a tin can, a cork, a roll of masking tape — form a mesmerizing sequence of shapes that seem to roll around, on top of, and within each other.

Ordinary as Extraordinary / Object as Subject, Galveston Arts Center, Galveston, Texas Multiples, Davis / McClain Gallery, Houston, Texas

In a way, this isn't new, because this was once common practice with artists who worked with ordinary objects — they defamiliarised the ordinary object by putting it in an art context so that you'd rethink your relationship to it as art.